Archives For Movie Reviews

‘The Chosen’: Powerful & Unique Define Dallas Jenkin’s Award Worthy TV adaption of Jesus’ Life

August 13, 2020 — 1 Comment

Powerful and unique are two of the best ways to quickly describe season one of ‘The Chosen’, a ‘pay-it-forward’ episodic, visual chronicle of the life of Jesus.

The series is free to watch via an app, with the options of paying for the entire season or paying as you go. Meaning that each episode watched has been paid for by someone else, and it’s now up to you to pass that kindness on.

The pay-it-forward option also invites viewer ownership in the continued success, and advancement of the series.

There’s a list of things to like about ‘The Chosen’.

It isn’t Christian kitsch. It’s not bumper sticker theology, nor is it a grind to push through. It’s not cringe-worthy to watch, and it’s careful in handling the events revealed in the New Testament. The pay-it-forward method is ground-breaking, and the expositional bridge brings together a thought-provoking, historically accurate, multi-ethnic retelling of Jesus, as would have been witnessed by the New Testament’s original audience.

The music also deserves a mention. Like a lot of art, music takes words further than words and images can go. This is reflected in the ‘stomp and clap’ theme song ‘Walk on the Water,’ elevated by Ruby Amanfu’s vocals. Even with the theme song’s much brighter tone, it’s overpowering nuance has an engaging impact reminiscent of Fever Ray’s ‘If I had a Heart’ used in the History channel’s Vikings series.

The score for ‘The Chosen’ was penned by composer Matt Nelson and Jars of Clay lead singer, Dan Haseltine. Haseltine said he signed on because he was intrigued by the way in which director, Dallas Jenkins was drawing out the human relevance of the New Testament’s record of the life of Christ.

Haseltine described the creative inspiration behind the music as a fusion of slave spirituals, blues, and middle-eastern music; calling it ‘a combination of three textures, which aims to create a very human sounding musical bed for the show.’

Nelson (rightly) gave a thumbs up to ‘the raw, slightly out-of-tune sound’ saying that it ‘gives the series an authenticity’ that ‘brings out those [raw human] elements in the presentation of the story.’

Dallas Jenkins describes the series as being about a ‘mix of pain and hope. [That in midst of] immense suffering, [there is] also this dignified beauty that came from the hope in this belief that God was actually present and that there was going to be rescue. That’s something that I think was also taking place two thousand years ago.’

Experienced actor, and Christian, Jonathan Roumie plays the role of Jesus, telling Catholic Weekly that his focus for the role was God’s ‘infinite compassion and mercy. Otherwise it’s just a very pale representation of who I understand Him to be.’

‘The Chosen’ builds on the quality production standards set by the Visual Bible’s 1993 Word-for-Word ‘The Gospel of Matthew’, Dreamwork’s’ ‘Prince of Egypt’, Mel Gibson’s ‘The Passion of the Christ’, ‘Risen’, ‘The Nativity Story’, ‘AD: The Bible Continues’, and  ‘The Young Messiah.’

Roumie’s on-screen portrayal of Jesus combines the infectious joy of Bruce Marchiano’s portrayal of Christ in the Visual Bible, with the gravitas of the Passion’s Jim Caviezel.

The team capture Jesus’ soberness, sass and sense of humour, minus the cartoonish caricatures. They bring the Gospels to life, and invite us to participate in that journey with them.

According to the official website, ‘The Chosen’ is ‘the first ever multi-season show’ of its kind. It’s also the ‘number one highest crowd-funded media project of all time at $10 million from over 19,000 people, translated into 50 languages and counting.’

Season one of ‘The Chosen,’ with the option of paying-it-forward, is free to watch via the app in app stores.

Highly recommended.

Image: VIDANGEL Studios

© Rod Lampard, 2020

In Art and Theology, Movie Reviews, Music , , , , , ,
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Review: Bumblebee (Transformers)

January 2, 2019 — Leave a comment

As promised, the latest film in the Transformers series delivers.  ‘Bumblebee’ is a prequel set on America’s West Coast, in 1987. The film moves along at an engaging pace, is quaint and unexpected. High action scenes interweave with a smart storyline which is matched with a well chosen cast. Although debate about whether ‘Bumblebee’ is a prequel or a spin off, continues, the little that is wrong with this film, is outweighed by what the creators get right.

In a small list of highlights, the biggest was how the film succeeds as a prequel. As a flashback, ‘Bumblebee’ offers a solid start. Without offering spoilers, it’s enough to say that the storyline is consistent with the five Michael Bay films which came before it.

This is bolstered by careful attention to detail, such as when the Decepticon, Soundwave, makes his appearance for the first time. As with the first Transformer movies which brought the return of Peter Cullen’s classic voice to Optimus Prime’s, “Autobots. Roll out!” Soundwave’s[1] one scene, signature robotic voice command “Decepticon’s. Attaaaack!”, brings Transformers back to its classic 1980s roots.

Although he only has one scene, Soundwave is the only old Decepticon to be reintroduced to the series, while two, new muscle car/combat aircraft Decepticon’s, fill the role of antagonist. In addition, talented new actors provided a welcome change of scenery. This adds to the distancing of ‘Bumblebee’ with the (big star saturated screen presence of the) film’s predecessors.

In a short list of significant letdowns, the biggest was the absence of Steve Jablonsky. Having created the soundtrack for all six Transformers movies, his absence felt odd and inconsistent.  Without Jablonsky colouring the background with his now trademark Transformers sound, parts of the film felt empty. The careful insertion of some classic 1980s songs did not fill the void.

Italian film composer, Dario Marianelli may have excelled in period films like ‘Pride & Prejudice (2005)’, but he was a poor choice for the ‘Bumblebee’ movie.  The absence of Jablonsky stood out like the size of Megatron’s ego. Marianelli had big shoes to fill. He was working outside of his genre and it showed. The Bumblebee soundtrack is a letdown and the absence of Jablonsky is a huge loss for an otherwise excellent film. In the end, not one song in Marianelli’s soundtrack succeeds in matching Jablonsky’s ‘Tessa’, ‘Autobots’, ‘No Sacrifice, No Victory’,  ‘Arrival to Earth’ and the haunting witty flow of ‘Cogman Sings’.

In attempting to answer why Marianelli, and not Jablonsky, it’s anyone’s best guess. My own would be that a) it was contractual b) the makers of Bumblebee wanted to make a clean cut between ‘Bumblebee’ and its predecessors c) Jablonsky was too masculine for a movie with a lead female character.

If the Hollywood Reporter and Cinema Blend are right, ‘Bumblebee’ is as much a “soft spinoff” as it is a prequel. If Transformers goes the way the Star Wars franchise has, and its creative direction is ideologically liberated from its original cinematic creators, then all three options are probable reasons for why Jablonsky was not invited to the table.

Another somewhat minor letdown was John Cena’s character. His character’s role starts out strong, but by the end of the film, his character’s presence in many of the closing scenes is purposeless and comical. Not only does Cena’s character descend into a mockery of the strong masculine role, it could also be viewed as a further attempt to paint male authority as buffoonish. With the current political zeitgeist, it’s hard not to see this is a veiled (passive aggressive) upper cut thrown by Hollywood, in the direction of Donald Trump, and all white heterosexual men in general.

However, to ‘Bumblebee’s’ credit, this particular downside to the film is balanced by the admiration and affection that the film’s protagonist, Charlie Watson (played by Hailee Steinfeld), has for her late father. Watson’s father is portrayed as an attentive, engaged, strong and loving parent, who is deeply missed; something that Hailee Steinfeld communicates to the audience with heartfelt precision. In addition to this, because ‘Bumblebee’ stresses the importance of a child having a mother and a father, the film presents a strong message about grieving and the importance of family as being a built around male and female; dad, mum and children. The main point being that Watson’s father cannot be replaced.

Despite hidden prejudices that could be drawn out from the film, ‘Bumblebee’ is an unexpected, fun, inspirational family film. ‘Bumblebee’ delivers. If Hollywood Reporter’s speculation that the film is a spin off, then the story line is left wide open, not only for further films, but a multiverse conversion of Hasbro’s line of related 1980s heroes and villains[2]. Something aptly coined by Graeme McMillan as the ‘Hasbroverse’.

If freeing Transformers from its original cinematic creators, in the same way that Star Wars has been liberated, I’m not all that optimistic about where the franchise will go.  Overall, ‘Bumblebee’ is an unexpected, fun, family friendly film, with all the Transformer action. Other than the obvious absence of a Jablonsky soundtrack, and a few minor letdowns in the development, and consistency of some characters, ‘Bumblebee’ is not just a great start to something fresh, it’s an exciting filler, as we wait for the finale to Michael Bay’s cinematic Transformer interpretation.

References:

[1] Voiced by Frank Welker (Megatron, Dr.Claw)

[2] E.g.: G.I Joe, Action Man & Transformers

©Rod Lampard, 2018

Disclaimer: I did not receive and remuneration for this review of any kind.

In Homeschool Notes, Movie Reviews , , , , , , , , ,
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J.E. Tres: Three Reasons For Why You Should Watch Johnny English Strikes Again

September 24, 2018 — Leave a comment

‘Johnny English Strikes Again’ is exactly what you would expect a Rowan Atkinson film to be: slap stick funny, quirky, a little irreverent, with a small amount of awkwardness on the side. The film parodies our level of dependence on technology, the power of Silicon Valley elites, and Western Society’s obsession with political correctness. [1]

Atkinson and Ben Miller make an excellent comedy duo. Their reunion for ‘Johnny English Strikes Again’, makes this third film more of a sequel than second. The female leads, played by Emma Thompsons and Olga Kurylenko are in balance with the eccentricities of Johnny English and the serious attributes of Angus Bough.  Thompson’s character is fumbling, frantic and Prime Ministerial, whereas Kurylenko’s character is all about completing the mission successfully.

The third instalment in the Johnny English trilogy takes aim at our level of dependence on technology. Exaggerations for comedic effect are obvious, but within those there’s a serious critique of how easy it is to lose control of information; how data could be compromised or manipulated by anyone with the resources and knowledge to do it. [2]

The film critiques the trust placed in those who live and work in Silicon Valley. Silicon Valley Corporations have access to people’s lives and private information; the kind of access to people only ever witnessed in a totalitarian State. The differences being that these corporations benefit from capitalism and people are willing to give them access to their lives, and hard-earned money, in exchange for a service or a reliable product. Silicon Valley corporations have a lot of power. The premise, and trust placed in these corporations, as worked out in ‘Johnny English Strikes Again’ is something akin to: He, who controls the internet, controls the world.

Leaving behind the second film (‘Johnny English Reborn’) the third movie goes back to the formula of the first and borrows a little from its sequel. This isn’t a bad thing. As one of my perceptive daughters observed, ‘Johnny English: Reborn’ (Johnny English 2) wasn’t as good as the first or third in the trilogy, because Angus Bough [pronounced “Boff”; played by Ben Miller) wasn’t in it. Atkinson and Miller make an excellent comedy duo. Miller’s return as Bough in ‘Johnny English Strikes Again’ proves that leaving Miller’s character out of ‘Johnny English Reborn’ was a huge mistake.

The third film borrows from the second in how it makes fun of the West’s obsession with political correctness. Where Post-Modern sensitivities are excessive, they are justifiably mocked. For instance, in one scene, English is met by an agent who, in answer to a question about acquiring a gun for a mission, said, “Guns? Well, we don’t really do those anymore; we prefer a more diplomatic approach.” (Paraphrased).  In another scene, the ever pragmatic English chooses a muscle car over an “environmentally friendly” hybrid, due to its zero dependency on computer technology.

The film succeeds in applying comic relief to serious criticisms – these criticisms being our dependency on technology, the power of Silicon Valley elites, and excessive political correctness. Johnny English Strikes Again is an exciting film which links up better with the first film than its sequel. Although not absent of one or two ridiculous scenes, the film takes the tension between analogue versus digital and suggests that analogue may still have a significant part to play in an age of espionage and information technology[3].

Notes & References:

[1] Hence the review I’ve written for it.

[2] For example Russia’s alleged interference, and collusion, with Donald Trump and his campaigners during the United States 2016 election; as well as the FBI allegedly pushing their own form of interference, on behalf of the Democrat Party candidate Hillary Clinton and the incumbent President Barak Obama.

[3] The analogue vs. digital tension is reminiscent of Kelsey Grammer’s brilliant 1996 film, ‘Down Periscope‘.

©Rod Lampard, 2018

Disclaimer: I received no remuneration of any kind for providing this review.

In Movie Reviews, Politics , , , ,
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Review: Amazon Prime’s, ‘Jack Ryan’, The Rebranding & Forced Conversion of An American Patriot

September 11, 2018 — 5 Comments

Amazon’s ‘Jack Ryan’ is a fresh creative take on Tom Clancy’s, ‘Jack Ryan’ brand. The story has a standard structure. The plot is revealed as characters move from one crisis to the next. Each episode adds to the next, leading to the narrative’s conclusion.

Casting was on point. Actor John Krasinski (Jack Ryan) plays alongside Australian actress, Abbie Cornish (Doctor Cathy Mueller who takes up a “casual” romantic relationship with Ryan). Wendell Pierce (Robert Zane in ‘Suits’) plays the role of James Greer. All three add to the series and its fresh creative take on Tom Clancy’s, ‘Jack Ryan’ brand. Amazon has been consistent in the temperaments of key personalities, making a deliberate emphasis on Ryan’s, Sherlock-like, ability to see what others don’t, his by-the-book-ethic, and the sage-know-to-pick-your-battles no nonsense Greer.

While Jack Ryan is still a CIA analyst, he’s only an entry level desk jockey. The witty discourse and gracious tension between Ryan and James Greer, has been retained. However, there’s a big difference in tone and the nature of each character’s back story. James Greer is no longer an Admiral. He is fluent in Arabic, and is a backslidden Muslim (he converted to Islam in order to marry his now estranged wife). In addition, Jack Ryan is a scar ridden Marine vet, who wrestles with post traumatic stress and deep regret.

One of the most interesting themes raised within the series is the use of drones against belligerent Islamists. Through a subplot the script writers insert an introspective narrative that is isolated from the main storyline. This subplot explores the relationship and impact of drone strikes on pilots, and their targets. The subplot screenplay is exaggerated in order to make a point. Nevertheless, it presents an interesting talking point about the cost and justification for drone warfare; the unpredictable presence of drones and how that compares to the unpredictable presence of suicide bombers. The threat of a drone attack, anywhere and everywhere, might be a necessary deterrent to people who make the West their enemy[1].

One of the most noticeable aspects of Amazon’s ‘Jack Ryan’ series is the transformation of James Greer. Greer has been politically sanitized. Rewriting Greer as a convert to Islam and removing him from his key role in the United States Navy “liberates” him from the American military industrial complex. Add to this the noticeable anti-American statements in the dialogue of both protagonists and antagonists; the anti-American lens is visible and provocative. The take away impression is that Greer is a disgruntled CIA officer, who’s patriotism is first to himself, and secondly to Islam.

While many may applaud the subtle promotion of Islam as “the religion of peace”, some may take issue with how the screenwriters have not just demoted, but removed a beloved African-American character from his position in Ryan lore. Greer, no longer being an Admiral, is one of the major drawbacks of the series, and is, in my opinion, a serious flaw in the redesigning of the ‘Jack Ryan’ universe. Though, Wendell Pierce plays Greer well, his task isn’t easy. Greer has been robbed of his cautious patriotism, pro-American dedication and high position of authority, as drawn out by James Earl Jones in ‘Hunt for Red October’, ‘Patriot Games’ and ‘Clear & Present Danger’.

The less generous and more astute Western viewer wouldn’t be entirely wrong to see Amazon’s remake as outright propaganda against an alleged Islamophobia in the West. If standing against fundamentalism and prejudice was one the hidden aims of the ‘Jack Ryan’ series, this revision of Greer raises questions about what Amazon was thinking when it decided on fundamentally changing James Greer. If “racism” was a core issue being discussed, why was an African-American character removed from his privileged and respected position within the ‘Jack Ryan’ universe? Was Tom Clancy’s, Greer not worthy enough, or simply not minority enough?[2]

On the whole, Amazon Prime’s ‘Jack Ryan’ has the makings of a decent series. The cast is on point and the crux of Clancy’s brand remains intact. The storyline is engaging and for the more discerning, the ideological lens can be easily filtered out. Audiences are patient and will be generous in how the series takes Greer from a sharp minded naval veteran and Western patriot to a conflicted, weary American, who is committed to himself first and Islam second. Unfortunately, the compromises and revisionism may sabotage the shows future as it further alienates an audience, already growing tired of being bullied and misrepresented by Hollywood. An audience fed up with being force-fed conformism, through Hollywood’s self-styled piety, anti-Trumpism, appeasement of modern liberalism, and the sugar-coated half-truths and lies which tend to go along with it.

Furthermore Amazon’s ‘Jack Ryan’ seems to provide further proof that parts of the West are funding their own cultural suicide[3]. The series tip toes around serious concerns of many in the West. This is displayed in one episode, when those concerns are dismissed and discounted as “racism” by Greer. It’s for this reason that season one comes across as apologetic towards Islam, and in parts, hostile towards the West. The series stumbles drunkenly between speaking truthfully about Islam and promoting popular myths, such as perpetuating the idea that Islam is a race, that Islam is completely compatible with healthy Western values, that Islam is “the religion of peace”, and that the fault with Islam lies with fundamentalists (both external and internal), who are out to taint, abuse or misuse its ideology.

I’m keen for the next series, love the cast, but was disappointed and frustrated at what can only be described as Amazon’s (if not the screen writer’s) own strange case of Stockholm syndrome. While the crux of Clancy’s brand remains intact, Tom Clancy’s, ‘Jack Ryan’ has been rebranded by Amazon to be more palate worthy to an oppressive politically correct culture. Season one is pro-Islam, and in parts anti-American. It’s narrative and dialogue may only alienate a large majority of Clancy’s fan, forcing them to tune out and become entrenched in the very thing the show’s creators may have been trying to address. Season two looks set to involve Russia. Given the political climate in Hollywood since November,  2016, one can only hope that when it comes to the screen play, plot and storyline, cooler heads will prevail.

 

Notes:

[1] Just as society doesn’t know where or when a fifth column of Islamists might blow themselves or others up, Islamists don’t know where a drone will pop up next to them

[2] Has Amazon sold James Greer off; using the character to sell an idea of Islam that differs from the reality?

[3] Season one comes across as too anti-American. The screenwriters seem to have done their best to be sympathetic towards Islam, for fear of offending Muslims, while being inconsiderate of its Western audience. Islam is treated like a victim of oppression from fundamentalists[3] in the West and fundamentalists within its own ranks. There’s an impression that the screen writers are seeking to lull people into a false sense of security in its pointless attempt to separate political Islam and Islamic ideology from “the religion of peace”.

In Ideology, Movie Reviews , , , , , , , , , , ,
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‘Reign Over Me’: Adam Sandler’s Best Movie, & Eddie Vedder’s Best Vocal Work In a Cover Song, By a Mile

May 25, 2018 — 4 Comments

The film, ‘Reign Over Me’ (2007), written and directed by Mike Binder, is, without a doubt Adam Sandler’s best movie to date. I’ve seen most of his films, the most recent being ‘Sandy Wexler’ (2017) and ‘The Week Of…‘ (2018). By comparison the only other films that might come close are, ‘The Wedding Singer‘ (1998), his remake of ‘Mr. Deeds‘ (2002), ‘Bedtime Stories‘ (2008) and ‘Pixels‘ (2015); but even those don’t achieve what ‘Reign Over Me’ does, or go where it goes.

Sandler’s character, Charlie Fineman, is a widower who looks a lot like Bob Dylan in his early days. Fineman is a dentist by trade, and an apartment dwelling hermit, living in isolation within New York City, who suffers from post-traumatic stress and depression. Sandler’s signature, unpredictable outbursts, are reminiscent of  ‘Happy Gilmore‘ and ‘Anger Management.’

The behavioural similarity fits perfectly with the circumstances, making Sandler’s portrayal of the grief-stricken Fineman, not only believable, but in my opinion, Oscar worthy.

At the centre of the story-line are events which took place during September 11, 2001. The film approaches this subject with sensitivity. Avoiding  politics, the screenwriters look past conspiracy theories. Evidenced by the glaring absence of any mention of Islamism or Islamic terrorism.

On balance, the film does dedicate a scene to some news articles, albeit ones that are discussing America’s response. I have no real issue with this, for the following reason: The screenwriters are respecting their audience by not spelling out the obvious.

I have huge respect for directors and writers who do this. Within the context of ‘Reign Over Me‘, the strategy is understandable. It keeps the focus of the audience on Charlie Fineman’s journey through grief.

In addition to Sandler’s brilliant portrayal of a forgotten victim of September 11, both Don Cheadle (of Hotel Rwanda fame) and Liv Tyler, add to the movie’s overall tone. They bring to the film a warmth, that is juxtaposed with Fineman’s colossal battle against the abyss of grief.

Cheadle is Sandler’s college room-mate; also a dentist and extremely successful in his own right. Cheadle’s character (Alan Johnson) is aware of Fineman’s tragic past, but had lost contact with him over the years. Johnson has his own issues, which all start to come to bare. After randomly crossing paths with Fineman in the street, Johnson seeks to reconnect with Fineman, and by default, his younger college days.

Not completely aware of Fineman’s suffering, Johnson quickly recognises the pain his friend is suffering with. He begins to try to help Fineman. This creates tension between Johnson and his wife, and a series of misunderstandings with the ever suspicious Fineman.

He wants no help. Until he opts to go see Johnson’s long-term friend and psychologist, Angela Oakhurst (played by Liv Tyler).

Oakhurst works to bring Fineman to a place where he can address the past and his own brokenness, in his own time. Cheadle’s performance keeps the film moving along, perfectly complementing Sandler’s, and Liv Tyler compliments Cheadle. This perfect casting circle is made complete when Donald Sutherland turns up in the role of Judge Rains.

The film comes to a close with Fineman’s in-laws trying to speak with him. Fineman breaks downs, becomes violent, and as a result is held in custody for psychological evaluation.

As Rains becomes aware of Fineman’s emotional, and psychological state, he sees straight through the opportunistic lawyer representing Fineman’s in-laws. With Solomon-esk wisdom Rains outmanoeuvres the lawyer, making it clear that what he has in Fineman is a forgotten victim of September 11, 2001. A victim who deserves a chance to be heard, helped and respected.

‘Reign Over Me‘, has some unnecessary language and some interesting sub plots.  Though they seem to detract from the film at first, as the story progress, the genius of their inclusion in the film  becomes clear. The sub plots bring a complex meta plot, and its characters together. The sub plots  fortify applause as the audience finds a resolution to their desire to see Fineman heal, and overcome the obstacles forced upon him.

The film isn’t complete without the impressive soundtrack. The stand out song is Eddie Vedder’s cover of The Who’s, ‘Love, Reign O’er Me‘ and The Fray’s, ‘How to Save a Life’.  The live and studio versions included; Vedder’s performance, as far as I have heard, is his best vocal work in a song.

As far as art and theology goes, ‘Reign Over Me’ is rich in metaphor. What I see in ‘Reign Over Me‘ is God’s redemptive love – displayed in the film by Cheadle, Tyler and Sutherland’s characters.

They fight for Fineman. Yet still place an emphasis on him taking responsibility for his own actions. Fineman was empowered, but he still had to decide to respond to the love and help (grace – salvation) he was offered.

Since the theme of God’s redemptive love is part of a lot of current discussion, the metaphors are worth noting.

The freedom we find in God’s redemptive love is not a “freedom” that is said to be found in human love. For Fineman, human love was not to be trusted. Such love is at best selfish opportunism. At worst morbid existential navel gazing and/or unrealistic, self-centred optimism.

God’s love draws us out of ourselves in the form of His gracious Word spoken to humanity, which is both invitation and command (Jesus Christ and Covenant). We are drawn out of ourselves to be free for God and our neighbour. Such freedom comes with limitations.

I seem to be on a roll with recommending and reviewing art that, to me, is written, for the broken, from the broken, to the broken.

‘Reign Over Me‘, in my opinion, fits this category like no other film I’ve seen.

It hits at our grief, the lies we tell ourselves, and the traps we fall into because we fall under the radar of complacent, and dismissive family members, who, in overlooking the complexities of our brokenness, can seem to demand more than we are ready to give; simply because we don’t know how, or don’t yet have the strength to give it.

‘Reign Over Me‘ is an honest prayer-filled, heart-wrenching scream that meets with what Lacey Strum described as cathartic emotional vomit, when summing up her reasons for screaming in songs:

‘Like ‘emotional vomit’, lyrics about ‘horrible abuse, if sung honestly, must be screamed…Screaming was my natural response to injustice… When I started writing music with screaming in it, the point was to hit someone back… After God rescued me, however, I found a purpose for my screaming: to speak truth over the lies in people’s hearts. Lies like the ones I believed about myself when I wanted to die.’ – (Lacey Sturm, 2014 The Reason, pp.77-82)

Let there be light.

Inhaled grace ignites.

Disclaimer:

I did not receive any remuneration for this review, in any form.

In Art and Theology, Movie Reviews, Music Reviews, Political Theology , , , , , , , , , , , , , ,
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Review: Captain Fantastic

January 20, 2017 — 3 Comments

captain_fantastic_posterThe plot of Viggo Mortensen’s latest film, Captain Fantastic, revolves around the character development of off-the-grid homeschoolers. It is a film full of extremes and contradictions.

Mortensen’s character, Ben Cash, along with his wife, Leslie, live in a well established forest dwelling with six of their kids of varying ages. It takes about ten minutes, but the audience soon finds out that Ben’s wife is absent. Leslie suffers from severe depression and has been away receiving treatment for it.

The opening scene shows the eldest son covered in mud, jumping out of the foliage to catch a deer. The scene then shows him slicing its throat. This is quickly followed by an informal introduction to the Cash family, as each child emerges from behind trees and shrubs. It’s soon established that this hunt was part of a rite of passage. Having successfully completed the hunt, Cash “christens” his eldest son a man.

Cash runs a regimented homeschool routine. Each child participates in the equivalent of rigorous military grade “training’’. In one scene Cash is shown abseiling a steep cliff with all six kids in tow. When one of the older boys slips and slams his right hand against the rock wall, Cash forces him to keep climbing. Once at the top all children are shown shivering and exhausted.

Though Cash is himself well-educated and fair, his homeschooling technique and lifestyle combine to create a unique homeschool situation.

When Cash receives news that his wife has committed suicide, Cash, due to threats from his father-in-law, decides not to attend her funeral. It isn’t until his kids remind him of what they stand for as a family; of what he has taught them, that Cash decides to “stick-it-to-the-man.”

This triggers a road trip that reveals the conflicted attitudes wider society has towards homeschooling. Despite Cash’s eldest son gaining entry into every top Ivy League university in the United States, his sister challenges the benefits of home education, particularly when you don’t really have a house to call a home. His father-in-law, though a loving grandfather, struggles to hide his deep contempt for Cash’s homeschooling, which is only complicated further by grief over the death of his daughter.

Through encounters on the road trip, the family discovers social gaps in their learning. This leads to a deep introspective reflection by Cash on how much their decisions might have contributed to his wife’s depression and ultimate end. Cash is slowly awakened to the fact that his and his wife’s extreme lifestyle, and the homeschooling that accompanied it, while successful, isn’t as perfect as he had come to believe.

Captain Fantastic doesn’t hide its ideological influences or its contradictions. In one scene, after visiting a bank, we witness the family discussing their rule that, ‘’we don’t fun make of anyone. Not even fat people, only Christians’’.

In another scene, we’re shown Cash receiving money for homemade products that he had been sold on consignment at a local store. Yet, in another we’re shown Cash ridiculing capitalism to his kids. There is an inescapable irony when a man with the last name Cash, decries the evils of capitalism, having himself just benefited from capitalism.

This is only heightened by further extremes. Cash fakes a heart attack in a supermarket to distract staff so his children can carry out, what was called “operation free-the-food”. Then at a nearby park, Cash rewards the kids and dedicates the spoils to his leftist idol, and modern liberal, Noam Chomsky. Something Cash later justifies, when his father-in-law calls him out on it, as ‘’training’’.

For me, the contradictions and intenseness of the story make it profound, not loveable. There is a pretentiousness that permeates the selective tolerance encountered from certain groups and individuals in Western society. The point being that Cash, while pointing to the extremism he claims to see in others, fails to see his own.

One area where this is highlighted is in how well-read the children are. Yet, there is no real mention of them ever having engaged the Bible let alone picked up, or had their father assign to them a book on 2000 plus years of Judeo-Christian theology.

There is also the unchallenged promotion of Buddhism as being a superior “philosophy” because it “is not an organised religion” (Quote/unquote).

We’re expected to feel sorry for Cash and applaud him, as he and his kids burst into the colourless Catholic Church service in brightly coloured clothes. Then we’re encouraged to empathise with Cash as he interrupts the service. In protest against what he sees as an injustice carried out by ‘’the-man”, he reads his wife’s will out loud to the congregation stating that she was a Buddhist, and would not want to be farewelled under this superstitious, extremist religious ‘’oppression.’’

The audience is blinded by the dysfunction on display, long enough to keep them from sighing with those at the end of Cash’s verbal whip lashing. There is no tolerance shown to other grieving relatives, including Leslie’s parents. There is no compassion for dialogue or serving others. The closest we come to this is Leslie’s, ‘’obedient’’ mother, who is made to look aloof, as someone oppressed under the thumb of patriarchy.

The supposed Christian extremism is placed against Cash’s own extremist lifestyle; one that leads Cash and his kids to dig up their mother’s body, and then travel back to the wilderness where they cremate her and dance around the pyre performing the Guns ‘N Roses, song ‘Sweet Child O’ Mine’.

While some aspects of Captain Fantastic resonate fairly with the homeschool journey, its extremes are not what homeschooling actually looks like.

Captain Fantastic portrays homeschooling in all its positive tension. Cash has taught his kids well. They’re disciplined, free thinkers who are intelligent and healthy. However, Captain Fantastic also plays into the abuse of extremes.  Its plot quietly rides the anti-socialization myth about homeschooled children and because of this there is a sense that the kids are deliberately portrayed as being socially awkward.

The context of the children’s homeschooling makes this forgivable, but in the end, it doesn’t completely cover up the subtle support this lends to anti-homeschool advocates.

Yet, Captain Fantastic isn’t as iconoclastic as it first appears to be. What is on the surface isn’t necessarily what is underneath.

Here Hollywood is displaying the dysfunction and dissonance in those who advocate an alternative society; who vomit slurs and contempt at the very society they benefit from, without really acknowledging that the same society they ridicule, also protects and allows them the freedom to ridicule it.

In this way, Captain Fantastic exemplifies G.K Chesterton’s statement,

“Christianity is the only frame for pagan freedom”. (Orthodoxy, 1901)

and Michael Horton’s view that,

‘Without a serious recognition of original sin, we can easily become passive pawns in the game of dictators and democrats alike. It is the doctrine of human perfectibility that has brought tyrants to the world stage with the worshipful applause of the masses, but the biblical teaching awakens us from our moralistic slumbers, identifying God as the only reliable object of our faith’[i]

[Disclosure: no payment or other incentives were received for writing this review]

Sources:

[i] Horton, M. 2008 Christless Christianity, Baker Books

Captain Fantastic is a Matt Ross film, 2016 Bleeker Street Productions

 

In Art and Theology, Homeschool, Homeschool Notes, Movie Reviews , ,
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Review: Ghostbusters [The Reboot]

July 27, 2016 — 4 Comments

GB 1Ghostbusters along with Star Wars IV, is one of the movies, that as a kid, I remember watching over and over again. I’d fast-forward the VHS tape past the opening scene in the library and go straight to the title. It was part “skip-the-scary-bit” and part, just get me to the Ray Parker Jr, theme song.

As far as the remake goes, each of the main actresses were convincing enough, but they had big shoes to fill. The pressure on them to meet such a high standard would have been enormous. Taking all this into consideration it’s not a really bad film.

Best expressed through the general response of my daughters: “the movie was okay. I liked the gadgets, but there was not enough guys, and they made Chris Hemsworth look dumb.”

Or best summed up by Richard Lawson in his review for Vanity Fair:

‘Ghostbusters is a flat, occasionally charming disappointment. While certainly funny in parts, Paul Feig’s much-debated reboot can’t find its groove…There are brief highlights [but the] film is largely an uninspired slog, everyone doing their best to get to the end without screwing things up too much’ (source)

I had my own thoughts on it, so here’s a short, 16 point review:

1. Cerebrally effortless, fun movies, do exist.

2. Ghostbusters can fit all genres. If you liked The Golden Girls this one’s for you – (minus the humour of Estelle Getty)

3. If you’re obsessed with the Ghostbuster movies, then this is an edition that’ll uniquely sparkle in any pristine, shrink-wrapped, for-display-only, collection.

4. If you like to see men, particularly Australian men, portrayed as dim-witted buffoons, then you’ve picked a winner.

5. If you’re ideologically bent towards supporting the emasculation of a classic, it’s for you, but in answer to the question “who ya gonna call?” – perhaps, first, call a therapist, not Ghostbusters. #justsayin

6. Crude statements about how a woman’s anatomy works, no matter how subtle, doesn’t communicate well for any actor selling a story to a wider audience, outside the teen angst bracket.

7. The storyline was strong enough to withstand the small amount of innuendos.

8. Overreaching in order to empower feminism disempowers feminism (and almost squeezes the life out of everything it touches).

9. Outside the Gilmore Girls, I’m not a big fan of Melissa McCarthy’s later work. (You deserve better, you can do so much better because you’ve done so much better).

10. Hollywood peaked in 1984. It’s been on a slow downward slide since. It seems to have literally run out of really cool, original ideas.

11. Bill Murray is still one of the coolest comedians alive, and Ernie Hudson must be part Vulcan, he’s hardly aged at all.

12. Chris Hemsworth, Australia thanks you for Thor, but we’re pulling faces and scratching our heads over this one, mate.

13. Hollywood is still capable of making a comedy without copious amounts of swearing or sexual innuendos [thumbs up]. It’s the genius in the legacy of Dean & Jerry, the Dick Van Dyke show, Mchales Navy, and Hogan’s Heroes.

14. Ecto-1 remains one of the coolest pop culture cars to have ever been created. With the ban on the General Lee, Ecto-1  moved into the number 4 slot, just under the A-team’s GMC van, KITT & the Delorean.

15. It doesn’t matter how awkward a movie might seem, gizmos and gadgets always make it better.

16. The modern liberal quest for what it, and it alone, determines to be tolerance and equality, creates inequality. In well-timed humour, on screen chemistry and one-liners, this reboot of Ghostbusters is not even close to being equal to its predecessor.

Does the movie speak to it’s audience and Ghostbusters fans? Yes, sometimes.

Does it do anything for feminism? Yes, however not in the way I suspect that it might have been intended. It shows that the frown of feminist idealism is kryptonite. That it’s misandry and overshadowing hypocritical disapproval of men, is toxic. Feminism is fundamentally about empowering women to be as equal-in-value as men. Any medium that betrays this platform rests not on talent, wit and moxie, but on a destructive ideology that perverts feminism, and clouds its positive achievements.

The absence of Ivan Rietmann and Dan Ackroyd is noted. Although, Ackroyd, Hudson and Murray make a cameo appearance, they’re not credited as being directly involved in the remake, which might explain the movie’s awkwardness. The brilliance of the first film was its disciplined balance between the serious and the silly. The retake barely seems to attempt to do the same. Paul Feig (Director/Writer) and Katie Dippold (Writer) could have made the story line deeper and tapped into the tension Reitmann maintained. It’s not clear why they didn’t choose to go in this same direction.

Putting the apparent hi-jacking of Ghostbusters by feminist idealism aside. Dedicated fans of the franchise might not be as thrilled as the fans of Batman were with Nolan’s trilogy, or Bay’s Transformers, however, they’ll probably be more forgiving. This is because Ghostbusters, the reboot, isn’t just a remake. Its in-part, an interesting retake on the whole Ghostbusters story.

Note: Thoughts expressed here are my own. I received no payment of any kind for this review.

Trailer: Ghostbusters, 2016 Sony Pictures

In Feminism, Movie Reviews , ,
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